In Wisconsin, Republicans discover democracy

Love this from Sen. Lindsay Graham:

Graham: “In a democracy, when you run on something, you do have an obligation to fulfill your promise. [Gov. Walker] didn’t take anybody by surprise, he’s doing exactly what he said. There was a referendum on this issue and the unions lost, and the Democrats in Wisconsin should come back to Wisconsin to have votes.”  

Graham, of course, a starring member of the the Republican minority during the 111th Congress elected with President Obama. Somehow, Republicans--despite massive defeats at the polls--found it right to ignore the message voters sent then in order to mount a record 112 filibusters in one year. Lectures from Graham on the nature of democracy are frankly laughable.

Netflix Queue: 'The Twilight Samurai'

Three quick thoughts about 'The Twilight Samurai':

* This sweet, slow, and elegaic film focuses on Seibei Iguchi, a low-ranking samurai at the end of the samurai era. He is poor and dirty, loves his daughters and even encourages them to study books(!!), but serves out ancient obligations to his sponsoring clan. Because his clan is mostly at peace--until the end of the film--he and his fellow samurai have little to do; they serve as clerks and accountants instead, rarely drawing their swords in anger. Given this film was made in 2002, a few years into Japan's real-life "lost decade" of recession, it's not difficult to read his situation as an allegory of Iguchi's modern-day countrymen living lives as semi-neutered "salarymen" torn between past glories and current duties.

* The presence of women in this film is what makes it unusual, at least from my experience of samurai movie watching. In both Japanese and American action movies, we tend to like our sword- and gun-slingers somewhat ascetic, stoic, and bordering on chaste. Their deepest emotional attachments tend to be with other men--or, if with women, doomed. (Make of that what you will.) But Iguchi's love for his daughters shapes his other actions in this movie--and not in the usual "I've got to get vengeance for them or protect them from a threat" kind of way. That makes him a different kind of hero, actually vulnerable instead of movie vulnerable. And that's what draws us in, even if the pacing seems to drag a bit at times.

* In the end, Iguchi must strap on his swords and have a climactic battle. Though 'The Last Samurai' has an elegaic feel to it, it seems that here is where we're given permission not to mourn what has passed. Iguchi and his opponent do not fight for their own honor, or freedom, or anything noble. They're each performing the assignments they've been given--"You're an errand boy. I've been an errand boy too," his opponent says--in order to keep the pillars of Japanese feudal society in place. The fighting is messy, inelegant, fought by two complicated humans instead of Good Guy and Bad Guy. The fight and the film end on a bittersweet note, then: We are the warrior-protagonists in our own lives, and if the battles we're sent to fight are sometimes less-than-noble, or even outright incomprehensible, there's still an honor to be found in fighting the best we can, and in finding comfort in the ones we love.

Netflix Queue: 'Mean Streets'

Three thoughts about Martin Scorcese's 1973 debut, 'Mean Streets'...

• This is where Martin Scorcese started to become Martin Scorcese, after a few years of laboring under shlock king Roger Corman. It's got all the Scorcese touches, in an early and kind of raw form: The Rolling Stones on the soundtrack, New York, tracking shots and, of course, DeNiro. It's got a kind of punk rawness to it that's still kind of thrilling 40 years later.

• An immense part of the punk rawness comes from DeNiro. He's always been an intimidating, middle-aged presence in my mind--even when playing young Vito Corleone in 1974's "The Godfather Part II." So it's kind of amazing to see him playing, essentially, a kid—a cocky young man, wet behind the ears, barely into the world but already at war with it. He's beautiful and fierce, but (like Scorcese) he's not ROBERT DENIRO yet, and seeing the performance anew—after decades of DeNiro watching—is a kind of revelation.

• A friend on Twitter says this movie doesn't really hold up very well, and it's not aged well. It's got a slack Cassavettian talkiness that meanders nowhere in particular at times. There are scenes that appear to have been improvised by the actors without much in the way of direction except: "Argue! Now!" It's just not quite as entertaining as, say, "Taxi Driver" or "Raging Bull" or "Goodfellas" or even "Casino." But it's still worthy of viewing, a movie that ties itself firmly to its time and place (New York in the early 1970s, when the city was falling apart) and, as a document of that time and the young vision of a great director, a fascinating piece of filmmaking. "Mean Streets" isn't a masterpiece, but it shows you the preparation for a career full of them.

Eugene Robinson on Haley Barbour's failure to denounce the KKK

For those who do not see the Civil War through a revisionist gauze of gallantry and Spanish moss, Forrest is an abomination. In 1864, his troops mowed down scores of black Union soldiers who were trying to surrender, in what became known as the Fort Pillow Massacre. After the war, Forrest became one of the founding fathers of the terrorist Ku Klux Klan - and was the group's first national leader, or "grand wizard."

Barbour was asked whether he would denounce the idea of honoring such a figure. "I don't go around denouncing people," he told reporters. "That's not going to happen."

via washingtonpost.com

I know many of my conservative and Republican friends really, really hate being tarred with the brush of racism—and I don't blame them. But if you want your movement disassociated from that sin, a good place to start would be by making sure your governors and former RNC chairmen unequivocally denounce the Klan. It's not a high bar.

Missing the Internet in Rural America, and why NPR should be funded by the feds

In my Scripps Howard column with Ben Boychuk this week, I argued for continued funding of the Corporation for Public Broadcasting largely on the basis that it's rural parts of the country that would suffer if services like NPR—with its in-depth news and coverage—disappear.

A story in today's New York Times kind of reinforces my point:

COFFEEVILLE, Ala. — After a couple of days in this part of rural Alabama, it is hard to complain about a dropped iPhone call or a Cee Lo video that takes a few seconds too long to load.

The county administrator cannot get broadband at her house. Neither can the sportswriter at The Thomasville Times.

Here in Coffeeville, the only computer many students ever touch is at the high school.

“I’m missing a whole lot,” said Justin Bell, 17. “I know that.”

As the world embraces its digital age — two billion people now use the Internet regularly — the line delineating two Americas has become more broadly drawn. There are those who have reliable, fast access to the Internet, and those, like about half of the 27,867 people here in Clarke County, who do not.

In rural America, only 60 percent of households use broadband Internet service, according to a report released Thursday by the Department of Commerce. That is 10 percent less than urban households. Over all, 28 percent of Americans do not use the Internet at all.

There are a variety of problems with this. As the Times notes, there are economic, medical, and education consequences to the lack of access to the modern world. But one of the problems is informational:  “This is about whether rural communities are going to participate in our democratic society," one of the Times' experts says, and he's right. Which is why cutting funding for the CPB really is a bad idea! The residents of Coffeeville, Alabama can't so easily call up the New York Times or the Washington Post or BBC News on their computers. NPR probably offers a nice and vital window to the broader world that isn't easily found otherwise. 

Remember Larry King's old USA Today column? That's Buzz Bissinger's Tweets in the Daily News.

I'm not so sure this worked:

Buzz Bissinger, author of "Friday Night Lights" and "A Prayer for the City," has joined the Daily News as editorial adviser and occasional columnist.

He also has 19,607 followers on Twitter. Here's what @buzzbissinger was tweeting yesterday. Which may explain why we still don't have a column from him. And why he has so many followers:

The Philadelphia Daily News is so desperate they want to reprint my tweets. Think it's a completely f---ed up idea.

Nothing to rant on. Gaga. Repubs. Dems. Big f---ing deal. Been there done that.

Phillies starters best on paper. Let's see what happens. One of them will get hurt. Trust me. Burden of expectations. Only disappoint.

I haven't taken my meds today. I should soon. Between the anti-depressants, Coumadin, Lipitor, baby aspirin. F---ing pharmacy.

And so on. "Burden of expectations. Only disappoint." Indeed.

A great, kid-friendly repurposing of a skateboard

Seen at Almaz Cafe in Center City. The girl's father gave me permission to shoot, FYI.